MOP - Mr. Green`s Music Room

MOP
The
The Malabon Student’s
Manual of Protocol
Eighth Edition
2016-2017
Writing Tips
Guitar Chords
Ukulele Chords
Keyboard Chords
Songs with Chords
Scripts & Acting
Art Techniques
Typing
Fitness
Science
This book belongs to:
Name:
Grade:
The Malabon Student’s Manual of Protocol (MOP) is a guidebook designed to assist
you in your pursuit of literary, artistic, musical and athletic perfection during your years at Malabon. Keep this book on your desk at home, and refer to it often as the school year progresses.
Table of Contents
3
3
3
4
5
5
6
6
7
7
8
9
9
10
10
11
11
11
11
12
12
12
13
13
13
13
14
14
14
15
15
15
16
16
16
The Sentence
The Paragraph
The Outline
First Draft ... Second Draft ... Final Edit
Conversation and Quotation Marks
Making Your Conversation More Powerful
How to Copy Someone Else’s Writing
The Letter “s”: Plural & Possessive
The Review: CD ... Book ... Story ... Movie
The Newspaper Interview
Song Writing
Illustrating Your Writing
Poetry
Overuse of “And” ... “Then” ... “So”
One “is / was” ... Two “are / were”
Short Vowels and Long Vowels
Single and Double Consonants
“ight” = “ite”
“i” before “e” (except after “c”)
A ... An
Then ... Than
Adding Depth to Your Writing
There ... Their ... They’re
Were ... Where ... Wear ... We’re
To ... Too ... Two
Numbers
Stick to One Tense
Two Subjects are Plural
“I” and “Me”
“k” ... “ke” ... “ck”
Our ... Are ... Hour ... Aargh!
Ending with “ed” or “et”
Could ... Should ... Would
Ending with “ss” ... “se” ... “ce”
The Colon: How to Use It
MOP wr itten by Mr . Gr een
17
17
18
18
19
19
20
21
22
23-25
26-27
28
29
30
31
32
33
34
34
35
36
37
38
39
40-41
42
43
44-46
47
48-49
50-67
68-77
78
79
Capital Letters
Slang or Formal?
The “F” Sound
Contractions: is not = isn’t
The Diphthong
Comma Set-Offs
Basic Note Reading
How to Count Rhythm
The Piano Keyboard
The “Sweet Sixteen” Guitar Chords
The “Dirty Dozen” Piano Chords
Major Scales for Piano
Left Hand Chords for Piano
The Secret Life of Chords
Wait For the Wagon
Malabon Truly is the Best (School Song)
National Anthem (Star Spangled Banner)
Kookaburra (Words & Chords)
Camptown Races (Words & Chords)
Buffalo Gals (Words & Chords)
The “Sweet Sixteen” Ukulele Chords
The Muffin Man
Country Roads
The Happy Wanderer & Happy Birthday
Art
The Script: Play ... Radio ... Movie
Performing Your Script
The Art of Acting
Learn to Type ... Now!
Crash Course in Typing
Art Techniques and Examples
FIT: Fitness Instructional Techniques
RASCAL Award
Science Fair
Hey, kids!
Read what you need
and then get busy!
Your friend,
Babbs Boone
Special thanks to the following people
for their contributions to this book:
Johnny DeFlaminis (Fitness Examples)
Pam Dizney (Fitness Examples)
Shelley Yu (Art Examples)
2
The Sentence
A sentence must begin with a CAPITAL LETTER and end with a period
( . ), question mark ( ? ), or exclamation point ( ! ). Leave a space after the
period before you begin the next sentence.
The best sentences contain only what the reader needs to know. If a word
does not contribute to the power or meaning of your sentence, strike it out during
the edit.
The Paragraph
A paragraph is a group of sentences that are related to one idea. Once you
change direction to another line of thought, you need to star t a new par agraph. This divides your writing into clusters of similar sentences that allow the
reader’s eyes to easily see the divisions of your thoughts.
Indent each new paragraph. Leave a blank space just like the one at the
beginning of this paragraph for your first sentence. The rest of the sentences will
fill up the entire line.
Use the indentation whenever your thought changes direction or the action
switches gears. You should also indent whenever a different character speaks.
The Outline
An outline is a short listing of the main points you want to make in your
story or article. Some people don’t use one. But if you want to organize your
thoughts before writing the final product, an outline is the way to go.
Make a list of the important items you want to present in your piece. You
don’t need complete sentences or punctuation. View this outline as the “bones” of
your piece ... you will “flesh it out” in your first draft.
Here’s a sample outline for a report on trumpets. Each item represents a
paragraph of explanation.






Trumpet, musical wind instrument, member of the brass family
Brass tubing, three valves, buzz lips in mouthpiece
Early trumpets were simple tubes with no valves. Other history.
Used in orchestras and bands, common in jazz
Names of famous trumpet players
Conclusion: Learn to play in 6th grade, how to buy one
Now you can begin writing your first draft. Each “bone” in the outline will
be given its own paragraph, and you will add sentences to “flesh out” any details
that you wish to present to the reader. This trumpet outline has six “bones”. This
equals six different paragraphs of information. You must indent each one, keeping
the sentences in that particular paragraph related to their “bone” in the outline.
3
First Draft ... Second Draft ... Final Edit
First Draft
The first draft is just that: the first writing that you do for your story, poem, script, essay, or research article. Write this quickly, getting all of your ideas
down on the paper without worrying about spelling and neatness. Use either a pen
or a pencil with the eraser removed. This prevents you from stopping to erase
(which disrupts your flow of thought). If you need to remove something, simply
draw a line through it, and then quickly r esume your wr iting.
Your only goal at this point is to finish writing your piece. You can pause
to think ... but don’t pause to adjust your writing yet. Learn to write as fast as you
think and to ignore your mistakes during this first process.
Second Draft: The Corrections
Once your first draft is complete, you need to edit your writing. If there are a lot of
mistakes, you may need to make corrections by re-writing the entire piece onto new
paper ... a second draft. You can also add new material to the piece within this new
draft. (A second draft is highly recommended on a complex piece of writing!)
1.
2.
3.
4.
5.
6.
Slowly read ever ything that you have wr itten. You may wish to r ead it out
loud. Do this sever al times, star ing at the page as if you wer e r eading it for
the first time. This slow and careful reading will start to reveal any mistakes.
Grab a red pen or pencil. Make all corrections in red.
Circle any spelling mistakes. Grab a dictionary and correct misspelled words
with the red pen. Use a thesaurus to juice up drab or unexciting words.
Re-write any sentences that seem awkward.
Adjust capital letters and punctuation.
Make a mark where new paragraphs should begin.
Final Edit
Once all corrections are made, slowly read or say your piece several more
times. Make any final corrections in red. Now you may write your final edit, which
is what you will hand in to the editor for publication in JOE or the Student Reporter.
1.
2.
3.
4.
Put your Name, Title, Date, Grade Level, and Teacher at the top.
Write slowly and neatly. Use proper spacing, capitals, punctuation, quotes and
indentations.
Erase mistakes and carefully insert the corrections.
Submit this final version to the editor and watch for it in the next publication!
4
Conversation and Quotation Marks

Whenever a character speaks, you need to let the reader know this. Put
quotation marks ( “ ” ) at the beginning and end of their speech.
“Hey, Sam, let’s go to the movies.”

If the character is speaking several sentences together, use one quotation
mark at the beginning, and then one at the end of the last sentence spoken.
“Hey, Sam, let’s go to the movies. My dad can take us.”

When two characters are speaking, indent a new paragraph each time a
different per son speaks. This keeps the r eader fr om being confused.
“Hey, Sam, let’s go to the movies. My dad can take us. We can pick you
up at your house and bring you back after the movie is over.”
“I’d love to go. Let me ask my mom if it’s okay. Can you wait a minute?”
“Yes, I’ll wait right here.”

Here is the proper use of non-conversational words (like “he said”) blended with the conversation. Note how the commas are used.
Jim said, “Let’s go to the movies.”
or
“Let’s go to the movies,” said Jim.
The first sentence uses a comma after “said”. The second sentence uses a
comma (instead of a period) at the end of the conversational part before placing the
quotation mark. The exceptions are question marks ( ? ) or exclamation marks ( ! ).
“Do you want to go see a movie?” asked Jim.
Making Your Conversation More Powerful

Using “Jim said” often weakens your writing. The quotation marks tell us
that he is speaking. Go for power by describing the actions of the speaker before or after they speak. Let the speaking stand by itself in its own sentence.
Jim burst into the house like a tornado. “Hey, Sam, let’s go to the mov-
ies.”

You can also use a more descriptive word than “said”.
Jim yelled, “Hey, Sam, let’s go to the movies!”
5
How to Copy Someone Else’s Writing
If you are writing a report, please don’t copy the writing from your source
material. This is tedious, it’s already written in the book, and is a bit like cheating,
isn’t it? No need to cheat. Put everything you write into your own words.
Sometimes you will need to use someone else’s words in your report.
There is an honest and legal way to do this. Simply use quotation marks ( “ ” ) at
the beginning and end of anything that is not in your own words ... anything you
borrow fr om another per son’s wr iting.
Directly after the quotation, you must place the person’s last name and the
date the mater ial was wr itten in par entheses (
). You must also “reference”
the quote at the end of your paper. This is where you place the person’s full name,
date and the title of the book or magazine that the quote came fr om. Like this:
When the researchers located the giant squid, they reported, “It was at
least forty feet long, and our camera was at a depth of 600 fathoms.” (Smith, 2005).
This was a very large animal that had never been filmed before.
At the end of your paper, put:
References
Smith, Bill. (2005). Creatures of the Sea.
This procedure makes it okay to use direct quotes. If you give the other author
credit, you are fine.
Note: A make-believe story does not need references for what you ar e making
up. You only need references for factual reports and real people’s words.
The Letter “s”: Plural & Possessive
Singular means one item. Plural means mor e than one item. Most plur al
words end with a simple “s” or “es”. Like this:
dog ... dogs
cat ... cats
baby ... babies (“y” turns to “i” plus “es”)
If an object belongs to a someone, the “s” is called a possessive. You use an upper
comma - the apostrophe ( ’ ) - before the “s” to indicate the owner of the object.
That is Jack’s dog. Here is the dog’s bone. The cat’s fur is pretty.
The two boys (plural) were playing with the dog’s (possessive) toy.
When a plural word ends in “s” and you need to make it possessive, place the apostrophe after the “s”.
It was the two girls’ cat.
My parents’ car is red.
6
The Review
CD ... Book ... Story ... Movie
A review is designed to give the reader a brief summary and analysis of
what you have seen or listened to. Give your opinions about the material, and list
reasons why you either liked it or not.
1.
2.
3.
4.
Tell the material’s title, author, and where it can be obtained.
Summarize the material’s content. Make this short and to the point. The reader
needs to know only the basic sketch of the overall material.
You may briefly detail impressive portions of the material that may be of interest to the reader.
After the summary of the content, describe your reactions to the material, and
then make your case to the reader as to whether or not they should seek it out
for themselves.
The Newspaper Interview
Before you interview someone for the school newspaper, make a list of
questions that you would like to ask them. Number each question, and when
they give you the answer, you can put the same number on a separate sheet of paper
and write the answer beside it. Combine the numbers back together during your
final edit.
If you want to pull exciting comments out of the person you are interviewing, ask them questions that require more than a one-word answer.
What is your favorite color?
Blue.
This grunt does not make for an exciting interview. Go for the gravy like this:
How do you use your favorite color in your daily life?
Well, I like to wear blue shirts as often as I can, and I have decorated my
living room with a blue rug. I have some blue tea cups in the kitchen, and my bedroom is painted blue.
Now we’re talking ... we’ve finally gone from grunts to gravy! This answer is far
more detailed and interesting to the reader.

If you own a portable tape recorder, you can take it with you to the interview
and record the entire conversation (with your subject’s permission, of course!).
This allows you to talk comfortably with the subject without being distracted
by writing. Play back the tape later, and write down your interview using any
or all material from the conversation.
7
Song Writing
Anything you wr ite can be set to music. A song is just wor ds that ar e
sung rather than spoken. Of course, you might not want to sing a short story. Most
songs are usually poems set to music, and often the lines rhyme (but not always).
Most songs follow a similar format. The section that repeats over and over
throughout the song is called the “chorus”. A chorus usually uses the same words
each time, and this is the verbal “hook” to the song. “W e all live in a yellow submarine” is the chorus to “Yellow Submarine”.
The “verse” acts more like the story-telling part of a song. The melody of
each verse may be the same, but the words will be different as the story tells itself.
“In the land where I was born” begins the first verse of “Yellow Submarine”, and
“So we sailed up to the sun” begins the second verse. Then follows the repeating
chorus of “W e all live in a yellow submarine”.
Some songs don’t have a clear-cut verse and chorus. “Mary Had a Little
Lamb” is a simple song that has several verses with changing words, but no repeating chorus.
When you write lyrics that you wish to set to music, leave a blank line
between each line you write. This allows you to write the chords over top of the
words. You can also make notes concerning the melody in these blank areas.
A great way to get started with a melody on some lyrics is to grab a guitar
or keyboard, play a chord, and start singing the first line of the lyrics. Try to match
the melody with the chord. Switch to a different chord and see where the melody
takes you as you plow through the lyrics. Experiment until you like it!
Another way to write a song is to hum along as you play chords on a guitar or keyboard. A catchy melody might come your way, and then you can make up
some lyrics to fit the melody. The Beatles’ beautiful song, “Y esterday”, was written after Paul McCartney kept singing “Ham and eggs” over top the pitches of a
short, three-note melody. Later, he switched the words to “Y esterday”, and the rest
is history.
You can also play random chords on your instrument, giving each chord
four or eight beats. You may come up with a pleasing pattern of chords. Write the
pattern down and memorize it. Then, grab some lyrics and try to fit them into the
chord pattern with a melody that you sing.

A note on lyrics and poetry in general: rhymes don’t have to be exact. “Mine”
and “fine” are exact rhymes, but you can rhyme similar sounding words whose
letters don’t match.
mine ... fine ... why ... supply ... eye ... ties ... surprise ... goodbye ... quite
The hint of a rhyme is enough. If you can find an exact rhyme that works,
then go for it. If not, seek out a similar sound to match the first one. This would be
better than forcing a bad rhyme into an otherwise excellent set of lyrics.

P.S. Use a tape recorder to record what you compose so you don’t forget it!
8
Illustrating Your Writing
You can use an illustration to catch the attention of the reader and demand
that they read your writing. A clever, well-drawn illustration gives the reader a
preview of what the writing contains. This illustration “hooks” the reader into your
writing.
You may wish to illustrate your own work. You may also have another
person illustrate your piece for you. Grab an artistic buddy, and enlist their help in
making your writing leap off the page and into the reader’s imagination.
The illustration should depict some major topic, character, or power ful
action fr om within your piece. (A combination of all thr ee is ideal.) Dr aw the
illustration on clean, white, unlined paper. Use bold strokes and vivid colors. Make
all details large and obvious. This picture will be reduced to a small size in the publication, so you must predict this shrinkage as you draw in order to retain your important detailing in the publication.
Perform a rough draft of your art, study its visual impact and relation to
the writing, and then carefully draw it in its final form. Place your name lightly on
the back corner of the drawing so it doesn’t bleed through on the front.
Poetry
When using words that rhyme on the end of sentences, place each sentence on a separate line. This allows the reader to see the rhyming words at the end
of the line. Capitalize the beginning of each line, even if it is in mid-sentence.
Don’t indent. If a sentence takes up two lines, indent the second line only.
You can rhyme two lines together:
My cat is very pretty.
I found her in the city.
You can skip your rhyme over lines. Rhyme line 1 with 3, and line 2 with 4:
My cat is very pretty.
She likes to sleep all day.
I found her in the city,
Where she had lost her way.
Prose poetr y doesn’t r hyme at all. It is a poetic way of wr iting a stor y:
The moonlight washed over the garden
As we stood transfixed, imaginations unleashed
Within a sea of dancing shadows,
Each one begging our most earnest ear.
9
Overuse of “And” ... “Then” ... “So”
Avoid beginning sentences with “And”, “Then” or “So”. Your wr iting
will lose its impact on the reader. Here are some examples:
Weak: And I told her I was sorry.
Strong: I told her I was sorry.
Weak: Then the bunny hopped away.
Strong: The bunny hopped away.
Weak: So the ball crashed through the window.
Strong: The ball crashed through the window.
Try to limit yourself to only one “and” or “then” in a sentence. Don’t
string a series of ideas together into one sentence by using a lot of “ands” or
“thens”. If you need to use the second “and”, end the sentence with a period instead. Star t a new sentence to finish your idea. Her e ar e some examples:
Weak: I went to the store and I bought a candy bar and I paid for it and I left the
store and I walked home and I turned on the television and I watched a show.
Weak: I went to the store then I bought a candy bar then I paid for it then I left
the store then I walked home then I turned on the television then I watched a show.
Strong: I went to the store and bought a candy bar. I paid for it, left the store, and
walked home. I turned on the television set and watched a show.
In the strong examples above, you notice that the writing gets the same
point across minus the extra words. Force yourself to write tight and powerful sentences. Edit out any useless words with your red pen. Replace them with powerful
descriptions. Each sentence should attempt to be a masterpiece unto itself.
One “is / was” ... Two “are / were”
A single subject is followed by “is” or “was”:
The dog is happy.
The dog was happy.
A plural subject is followed by “are” or “were”:
The dogs are happy.
The dogs were happy.
10
Short Vowels & Long Vowels
If you want a vowel to have a long sound, place an “e” after the consonant
following the vowel.
For example: rat has a short “a” sound. If you place an “e” after the “t”,
the word becomes “rate” ... and sounds like “rayt” (the regular “a” sound).
Here’s another: pet has a short “e” sound. Place an “e” after the “t”, and
the word becomes “pete” ... and sounds like “peet” (the regular “e” sound).
Single & Double Consonants
The word “little” has two “t’s”. This double consonant makes the “i”
sound short. If you accidentally spell the word with only one “t” ... “litle” ... the
pronunciation will be long: “lyytle”
In “spatter”, the two “t’s” make the “a” sound short. If you spell it wrong
with only one “t” ... “spater” ... the word will be pronounced “spayter”.
Winnie the Pooh changes the name of a tiger (long “ i” sound) by doubling
the consonant “g” to get “Tigger” (short “i” sound) - one of our favorite characters!
“ight” = “ite”
Many words that end with the “ite” sound (“eye-t”) are spelled with “ight”
instead. The “gh” is silent, but makes the “i” sound long.
fright, height, light, might, night, right, sight, tight
Just memorize the words with “ight”, and you’ll do just fine.
“i” before “e” (except after “c”)
Memorize this phrase: “i” before “e” except after “c”. Now you will always remember the proper order for the combinations of “i” and “e” !

The “ie”: apiece, niece, piece, pierce

The “ei” after “c”: conceive, conceit, deceit, perceive, receive, receipt


seize (Oops! An exception to the rule! The “s” functions as a soft “c”)
weird (Oops, again! Another exception! When in doubt, grab a dictionary!)
11
A ... An
Use “a” in front of a word whose first letter is a consonant (like b, c, d, f). Also use
“a” in front of a “y” word (like ‘yellow’).
“I see a dog.”
“I need a yellow crayon.”
“There goes a car.”
Use “an” in front of a word whose first letter is a vowel (a, e, i, o, u).
“I see an apple.”
Is that an oil can?”
Who’s got an umbrella?”
When in doubt, try saying your sentence out loud. You will probably say it correctly, and you can then use the correct form in your writing.
Then ... Than
“Then” means “what happens next”. Use it to move forward in time.
“I started to stop, but then I changed my mind.”
“Than” is a comparison word. It serves to contrast two things.
“My apple is bigger than yours.”
Here are both words used in the same sentence:
“I wanted to speak up, but then I decided that it would be better to remain
silent than to disturb the teacher.”
Adding Depth to Your Writing
Give your writing depth by describing your character’s appearance, emotions, and location. J ust as the focal object in a pictur e is set against a background, a story’s character needs similar treatment.
Less descriptive:
Mary asked Susie if she wanted to bake some cookies.
More descriptive:
Mary was sitting on the steps of her front porch. The warm summer breeze
swept strands of red hair back and forth across her face as she pondered what she
wanted to do with her afternoon. Jumping up, she ran into the house and grabbed
the phone to call Susie, her best friend. “Hey, Susie, would you like to come over
and bake some cookies with me?”
12
There ... Their ... They’re



There points out a direction: “Look over there.”
Their is a plur al possessive: “It is their house.”
They’re is the contraction of “they are”: “I wonder what they’re thinking.”
Were ... Where ... Wear ... We’re




Were is the past tense of “are”: “We were too tir ed to go on.”
Where is a direction: “Where ar e you going?”
Wear per tains to clothing: “I am going to wear a shir t.”
We’re is the contr action of “we are”. “We’re going to a movie.”
To ... Too ... Two




To means moving towards: “Let’s go to the stor e.”
Too means “also”: I want some candy, too.”
Too also means “extremely”: “That’s just too bad.”
Two means the number 2: “We’ve got two minutes left.”
Numbers



When writing a number less than 10 (1-9), you should spell it out.
He is two years old.
This is the third time I’ve seen it.
I visited there nine years ago.



For numbers 10 and above, you can write the numeral.
She is 13 years old.
Planet X might be the 10th planet.
That was 20 years ago.
(Dates are fine with just the numbers: 1976, 2006, etc.)
Roman Numerals
I=1
V=5
X = 10
L = 50
C = 100
D = 500
Roman Numerals are often used in publications and visual media.
I = 1 II = 2 III = 3
“I” before a numeral means “1 less than” ... IV = 4 (1 less than 5)
VI = 6 VII = 7 VIII = 8 IX = 9 (1 less than 10)
XV = 15 (10 + 5) XX = 20 (10 + 10) LXX = 70 (50 + 10 + 10)
XC = 90 (10 less than 100) CIL = 149 (100 + 1 less than 50)
This book was printed in the year MMVI (2 x 1000 + 5 + 1 = 2006)
13
Stick to One Tense
Most of your writing should be kept in the same tense. Tense is when the
action takes place: in the past, present, or future. If you ar e wr iting in the pr esent tense, don’t mix it up with past or future tenses. Likewise, when writing in the
past tense, stick to it rather than blending it with present or future statements.

Here is a confusing mixture of tenses:
I was walking down the street. A dog is starting to bark at me. He might
bite me if I get too close. I will avoid him, and then I arrived at my friend’s house.

Here is the same story sticking to the past tense of the first sentence:
I was walking down the street. A dog started to bark at me. He would have
bitten me if I got too close. I avoided him, and finally arrived at my friend’s house.
Two Subjects are Plural
When you combine two nouns with “and”, treat them as plural.
Singular:
Plural:
Jim is my friend.
Jim and Bob are my friends
Singular:
Plural:
Jim was my friend.
Jim and Bob were my friends.
Singular:
Plural:
I am hungry.
Bob and I are hungry.
“I” and “Me”
Use “I” as the subject of a sentence that is doing something. Put “I” last in line
when used with other names.
Jim and I are going to a movie.
Bob, Jim and I went last week.
Use “me” as a direct object that is having something done to it. Put “me” last in
line with other names.
Our friends spotted Jim and me.
They were expecting Bob, Jim and me.
Examples of Wrong Usage:
Me and Bob were hungry. I, Jim and Bob went home. You and me are buddies.
14
“k” ... “ke” ... “ck”
A short vowel sound is usually followed by “ck”.

sock, sick, sack, dock, back, pick, pack, peck, lick, stick, stack, thick, trick
This is true for the middle of a word with a short vowel. Use “ck” here, too.

pocket, socket, rocket, thicket, ticket, pucker, sucker, backer, trickster
However, if the vowel sound is long, you will usually stick with “ke” at the end of
a word.

duke, puke, bake, cake, take, woke, smoke, bike, mike, like
Some words end with “k” preceded by the double vowels “ee” or “oo”. (Our language rarely uses double “aa”, “ii” or “uu” in a word.)

seek, sleek, meek, creek, book, brook, look
Some words end with “k” preceded by mixed double vowels.

beak, peak, freak, bleak, leak, soak, croak
Our ... Are ... Hour ... Aargh!




“Our” is a plural possessive word: “That’s our cat.”
“Are” is the plural of “is”: “We are going to school.”
“Hour” refers to time: “We’ll be there in an hour.”
“Aargh” is what a pirate says: “Aargh, matey, shiver me timbers!”
Ending with “ed” or “et”
We tend to pronounce multi-syllable words that end in “ed” or “et” with the pronunciation of “id” or “it”. This can confuse you when you spell the wor d.

wicked, boasted, opted, blasted, ticket, packet, pocket
Some multi-syllable words do end with “id” or “it”.

stupid, cupid, aphid, admit, audit, outfit
When in doubt, consult your dictionary.
15
Could ... Should ... Would
These words have a silent “L” in their spelling. They all rhyme with “wood”.



I thought I could do better.
Should I tr y har der ?
Would you come over her e?
Ending with “ss” ... “se” ... “ce”
Many words end with “ss” rather than a single “s” This is especially true of words
with a short vowel sound before the “ss”.

mass, pass, mess, press, recess, hiss, miss, floss, moss, toss, fuss
Words that have a long vowel sound will often end with “se” or “ce”.

base, face, cheese, fleece, geese, mice, nice, close, hose, use, fuse
When you modify one of the words listed above to change its usage, add “es” to the
double “ss”.

He passes the ball well.
(pass + es)
Add a single “s” to the “se” or “ce”.


The artist uses red paint.
They were making faces.
(use + s)
(face + s)
The Colon: How to Use It
The colon ( : ) falls somewhere between a comma and a period in its usage. It is
useful when beginning a list of items.

We had all the supplies: forks, spoons, napkins, paper plates, and cups.
The colon is also used to connect two phrases that are related, yet don’t really feel
right with the period or comma between them.

The book was not bad: I just couldn’t seem to finish it.
A dash will also work here: The book was not bad - I just couldn’t seem to finish it.
If you can’t figure out the right usage, just write two complete sentences instead.
16
Capital Letters
Start every sentence with a capital letter. In a poem, begin each new line with a
capital letter.
Roses are red,
Violets are fine.
Notice the caps
Beginning each line.
Most names will begin with a capital letter.
 John ... Mary ... Rover ... Mr. Jones ... Dr. Earwax
Places, titles, businesses ... anything with a formal name ... all begin with capital
letters.
 The Eiffel Tower ... The Vampire Rat ... Tom’s Furniture Warehouse ... Idaho
If something sounds “official”, capitalize it.
 Spud, the Wonder Dog ... Dirk Danger: Man of Action ... Theory of Relativity
Informal names of places don’t need a capital letter . But a specific name does.
 I’m going to the bus station. You know, the Greyhound Bus Station. It’s near
the barber shop ... Clipper’s Barber Shop. That’s across from the hardware
store called Nutz ‘n’ Boltz Hardware. Mr. Wrench is the owner. I know, because over the door it says “Mr. Wrench and Mrs. Chainsaw: Owners”.
Slang or Formal?
There are two styles of language that you can use when you write. Slang is
the language used during casual conversation with your friends. When you write
with slang, you are imitating conversational techniques. Formal writing is the usage
of language in a more serious, or “official”, way.
The nature of what you are writing determines which style should be used.
Stick with formal writing when presenting informative material. Slang is used during fictional or narrative writing when you are attempting to mimic the way your
characters think and talk.
Correct formal usage in a report
The earth is a planet that orbits around the sun. It takes about 365 days to
accomplish a complete orbit. The earth rotates about its own axis every 24 hours.
Incorrect slang usage in a report
Earth is a really cool planet. It orbits the sun, like, in 365 days. Hey, it also
rotates about its own axis every 24 hours. Wow! Bet you didn’t know that!
Correct slang usage in a narrative situation
Jim had been studying the solar system. He thought that earth was a really
cool planet. He thought like, wow, it takes a year to circle the sun! He said, “Yo,
dog, let’s grab an encyclopedia and check out some more of this groovy science!”
17
The “F” Sound
Some words end with a “ugh” that sounds like an “f”.





cough sounds like “coff”
enough sounds like “enuff”
laugh sounds like “laff”
rough sounds like “r uff”
tough sounds like “tuff”
Some words will end with two “f’s”. The single vowel has a short sound.

buff, cuff, duff, fluff, huff, puff, staff, stuff
Some words will end with only one “f”. The double vowels have a long sound.

beef, goof, proof, poof, reef, roof, woof
Some words use a “ph” that sounds like “f”.




graph sounds like “gr aff”
morph sounds like “mor ff”
philosophy sounds like “fillosofee”
photograph sounds like “fotogr aff”
Contractions: is not = isn’t
A contraction is where we blend two words into one. We leave out the
vowel in the second wor d, and r eplace it with an apostrophe ( ’ ).









would not = wouldnot = wouldn’t
can not = cannot = can’t
is not = isnot = isn’t
was not = wasnot = wasn’t
we are = wear e = we’re
they are = theyar e = they’re
he is = heis = he’s
she is = sheis = she’s
it is = itis = it’s
By the way, since “it’s” is a contraction, the possessive for “it” is “its” ...
without the apostr ophe.
It’s a br own dog. (contraction for “it is”)
18
That is its food bowl. (possessive)
The Diphthong
A diphthong (diff-thong) is two vowel sounds within one syllable. If you
can hear the diphthong when you speak a word, you will often need two vowels
next to each other when you write the word.
Pronounce the word “mouse” slowly. It sounds like “maah-uuse”. Notice
how your mouth changes shape during the vowels of the word. This is the diphthong sound. That’s why there are two vowels, “ou”, together in the word.
If you can hear the diphthong in a syllable, you will be more likely to spell
the word correctly.
Say these words slowly and listen for diphthong’s double sound:




out
shout
foul
beautiful
aah-uut
shaah-uut
faah-uul
bee-yoo-tiful (“eau”: a three-vowel diphthong bonus!)
If a word ends with a diphthong, you usually add a “y” or “w” after the
single vowel to end the word.



boy
now
how
bo-eee
nah-oh
hah-oh
Important note: Some of the long vowels have a natur al diphthong in
their pronunciation.
“a” is pronounced “a-ee”
“i” is pr onounced “i-ee”
Don’t let this fool you. You don’t need to write two vowels for these
sounds.
same, base, late, hide, bike, nice
Comma Set-Offs
When you’re setting off a name by itself, surround it with commas.
The store’s owner, Mary, showed us a ring.
Do the same way if the set-off is reversed.
Mary, the store’s owner, showed us a ring.
19
20
21
The Piano Keyboard






The white keys are named A-B-C-D-E-F-G from left to right (low to high).
This pattern repeats over and over again … there are only 7 names to learn!
A black key has two names, and is named by either of the two white keys next to it.
The black key “C#” (C sharp) is to the right (higher) of the white “C”.
The black key “Db” (D flat) is to the left (lower) of the white “D” key.
C# and Db are the same black key note, although either name may be used.
Left Hand
1 … pinky
2 … ring
3 … middle
4 … pointer
5 … thumb
Simple Scale
Use all five fingers.
Use a different
finger for each note.
Right Hand
1 … thumb
2 … pointer
3 … middle
4 … ring
5 … pinky
Left Hand
1 … pinky
3 … middle
5 … thumb
Chord
Play the 1-3-5
with thumb-middle-pinky
Right Hand
1 … thumb
3 … middle
5 … pinky
22
23
24
25
26
27
28
29
30
31
32
33
34
35



These ukulele chords are named by their guitar equivalents for our learning purposes.
There are many ukulele tunings, and often you will see a chord chart showing the above
pictures with a different chord name.
Same fingerings … just a different name.
36
(Do You Know) The Muffin Man ???
If you can sing and play chords in these five versions of The Muffin Man
without looking at the chord chart … or stopping between chord changes ...
you can call yourself a genuine guitar, ukulele, or keyboard player !!!
37
Country Roads (in four different keys)
You get to play four different minor chords in these versions.
(plus … the oddball Bb (B flat) chord makes an appearance!)
No 7th chords in this song … just straight-up majors and minors.
38
39
Art
There are a variety of mediums that you can use to create art for MOMMA, our Museum of Modern Malabon Art. Her e ar e some br ief descr iptions
of several mediums that you can explore. Some stores in town that sell these items
are Michael’s and the University of Oregon Bookstore. You might already have
some of these at home already.
Pencil
You all have regular pencils and paper, but there are many types of art
pencils available. They come in many grades, ranging from very soft to very hard.
These various degrees of hardness allow you to draw different thicknesses and textures, which is useful when outlining, shading or adding depth to your piece.
Colored pencils ar e a gr eat alter native to using mar ker s. You can
achieve fine details with your lines and shading, and the color won’t bleed through
the back of the paper ... great for illustrating the books some of you like to write.
Ink
Ballpoint pens make gr eat dr awing tools. Ther e ar e many thicknesses
and colors available. Calligraphy pens use an ink cartridge and come with tips
ranging from fine to very broad. Calligraphy is a type of fancy writing, but many
artists use this type of pen for their art. The black ink is bold, and you might enjoy
working with the stark contrast of black ink upon white paper.
Charcoal
The charcoal medium ranges from charcoal pencils to big chunks of black
rock. The pencils often come with a peel-away paper to expose the tip rather than
using a sharpener. You can smear the lines you draw to achieve interesting textures
within your piece.
Acrylic Paint
Acrylic paint comes in tubes containing specific color s. You squir t a
bit of paint onto a palette, and then you use a brush to paint your picture. You can
blend colors together to create other colors, and the clean-up is done with water.
Brushes come in many sizes and shapes, allowing you to render both fine lines and
fat strokes. Acrylic paint dries fairly quickly.
Water Color and Tempera Paint
Water color painting mixes a har d paint with a wet brush. Like acr ylic, you
can blend colors and use brushes of different sizes to achieve many textures. Tempera is a wet paint that comes in a bottle and washes up with water .
40
Oil Paint
Oil paint is what many advanced ar tists wor k with. It is not water based, and therefore you use chemical solvents to blend and clean with. Many of
the great traditional masterpieces were created with oil paint, and it’s worth a stab
if you are so inclined.
Pastels
Pastels ar e like wor king with a color ed oily stick. Not quite pencil, nor
chalk, nor paint ... pastels are a great way to express your art in a unique way.
Chalk, Crayon and Marker
Don’t forget these common artistic tools. All are easy to obtain and use,
and can provide a very inexpensive outlet for your artistic vision.
Modeling Clay
Modeling clay is gr eat for sculpting thr ee-dimensional objects. There
are many types of modeling clay available, and some never dry out, allowing you
to reuse the clay over and over again. There are many special tools used with modeling clay to help manipulate the shapes you wish to obtain. Highly recommended
for all of you 3-D thinkers.
Extra Equipment
Some art requires no special equipment. Just grab a piece of paper and a
drawing device, and get busy at your desk. But there are some art items that may
make your life easier as you use some of the more advanced mediums.





An easel is a stand that you can set your paper or canvas on to keep it propped
up. You can get either a floor stand or a table top stand. If you want to work
with your canvas (or paper) standing up, an easel is the way to go.
There are many types of specialized paper and canvas to draw on. Different
mediums require certain textures of paper to “take” the picture. Ask the art
dealer what paper or canvas goes with your particular choice of drawing materials. The right paper will make a big difference.
For the paints, you will need a drop cloth of some sort. This will protect your
floor or table from the drippings that don’t make it to the canvas.
You may wish to get an artist’s smock or apron, especially when using wet
mediums. Or, simply wear old clothes designated as your “painting clothes”.
Set up your own art studio. Designate a section of the place where you live to
be your art area. It doesn’t need to be big ... just big enough for your art supplies, table, easel, and you. When you are inspired, simply enter your studio
and get to work! (Actually, if you enter the studio, you will get inspired!)
41
The Script
(Writing for Live Performance)
Play ... Television ... Movie ... Radio/Audio
A script is writing designed to be performed by actors. You write the dialogue that the char acter s speak, and include any descriptions of impor tant
actions they perform. You also need to describe their physical surroundings, or set.
You don’t use quotation marks in a script. Simply write the speaker’s
name with a per iod after it, followed by their lines (what they ar e saying). Indent each new speaker . Inser t instr uctions for actions when needed.
Some scripts are divide into two or three large segments, called acts.
These acts are then divided into scenes, each of which depicts related events, like
the chapters in a book. If the action changes location, create a new scene. Here is a
sample script:
The Vampire Rat
The Players
Bob,
1st Grade Student
Susie, 1st Grade Student
Mrs. H, 1st Grade Teacher
Mrs. S, Office Secretary
ACT 1.
Scene 1. A classr oom at Malabon.
Bob.
Susie, there’s something strange going on around here. Our
teacher is acting oddly. I wonder if she’s getting sick.
Susie. I agree. Ever since we brought the rat from the spaceship into the
classroom, weird things have begun to happen.
Bob.
Shhh! Here comes the teacher.
The teacher enters the room, and reveals her vampire teeth to the students.
Mrs. H. Yum, it’s time for lunch. Who’s first?
Susie. Let’s get out of here!
The students scream and flee from the room.
Scene 2. The Main Office
Mrs. S.
Bob.
Susie.
Mrs. S.
Susie.
What are you kids yelling about?
There’s a vampire rat in our classroom!
Our teacher has become one and wants to eat us!
Calm down. I’m certain it’s all in your imagination.
No it’s not! We saw her teeth!
42
Performing Your Script
Action ... adventure ... romance ... or just plain silly stuff ... why not enlist
some buddies to perform what you have written? The section in this book titled
“The Script” shows you how to format the dialogue and settings.
Decide who is going to direct the rehearsals. The director is in charge of
helping the actors coordinate their performance. The director also blocks the action.
“Blocking” is where actors stand, how they enter and exit, and what they do physically during a scene.
The director can assign a properties manager (props) to assist with any
physical objects needed during the production, such as tables, chairs, etc.
Someone else can be in charge of wardrobe (clothing) and make-up. The
stage crew is in char ge of shifting the set (envir onment) as the scr ipt unfolds.
To begin, take your completed script and make a full copy for each member of the cast (the actors) and all the assisting personnel (use a copy machine).
Place the character’s name at the top of their page, and then use a yellow highlight
marker to color the lines that they will speak. Do this for each actor . This allows them to easily see their own lines, and will reduce mistakes.
At the first rehearsal, sit in a circle and do a complete read-through. This
is where you all read the entire script with each actor saying their own lines. Do
this several times so that everyone is familiar with the flow of the script.
When you begin rehearsing the performance, block the actors’ positions
immediately. This cr eates the final for m of the per for mance by combining the
dialogue with the actor’s physical motions. The director (and actors) should write
their blocking down in the script for every move made. Blocking, cues, and lines
are memorized at the same time as one unit (a “cue” is what comes before an actor’s line that they respond to).
There are three ways you can perform your script:



You can perform it as a “read-through”. Ever yone sits in chair s and per forms their lines, script in hand, without moving about. The audience gets to
hear the script acted, minus the staging. This is how voice-overs are done for
animated movies and television shows.
You can perform the script, blocking included, with scripts in hand for reference. This is what is done in the early stages of a production, and allows the
actors to reference their scripts without relying on memorization of lines.
You can perform the script as a full-on production, all fr om memory, just
like a play. If your actors have had enough time to memorize their lines, blocking, and cues ... this is the way to do it like the pros.
If you have rehearsed you script well, there are several places here at Malabon to perform it. You can perform for your classroom, or during “Show and
Tell” in the music class. If you ar e sufficiently rehearsed, we can ar r ange for
you to perform your script in front of the student body during an assembly.
43
The Art of Acting
The Actor and Actress
When you perform your role in a production, you are no longer you ... you
are someone else. The audience does not want to see you speak your lines—
they want to watch your character take them into a different world. The goal of an
actor is to establish a believable character that matches the lines and actions they
are performing. Shut out the audience when you perform, and immerse yourself
into the character you are portraying. Knowing that the audience expects this is the
first step in overcoming your acting jitters once the curtain opens.
Stage Volume
You’ve all heard someone shyly muttering their lines while gazing down
at their feet, as if scared to death to be in front of the audience. Did you enjoy that
performance? Of course not! You couldn’t hear a word they said, nor could you
figure out their role in the production.
Every member of the audience must hear your lines. You don’t need to
yell, but you do need to speak loudly and clearly. Everything done on stage is a bit
bigger than in real life so that it can be seen and heard by the audience, so learn to
crank up the volume when you speak. You should always rehearse with your voice
at stage volume, even in a casual read-through.
Since the audience is in front of the stage, you must always be either sideways to, or facing towards, them when speaking. Never have your back to the
audience when delivering a line! (The director should block with this in mind.)
Characterization
Your “characterization” is how you emotionally, physically, and vocally
portray your char acter in a pr oduction. Some char acter s ar e easy to figur e
out ... if you are playing Superman, you will need to stand tall, move powerfully,
and speak with authority.
But what if you are playing Jane, the next-door neighbor, and don’t know
what she is like? Make it up! Study Jane’s role in the play, how she fits into the
plot, and what she says. Manufacture a character that you think will fit the “Jane”
you are studying. Create a posture, voice, and mood for this person. Don’t play
“Jane” as your normal self ... create “Jane” and learn to behave like her.
Cues
A “cue” is a line or action that serves as a trigger for the whatever occurs
next. Actors and stage crew must listen for their cues in order to execute their lines
and tasks at the proper time. A missed cue might freeze the action until someone
decides to cover for it by skipping ahead with their lines.
44
The Art of Acting
Business
Gestures and motions while acting ar e called “business”. Most people
don’t stand perfectly still while talking. They move about, fiddle with objects, gaze
at things, move their hands, and a million other things! As you rehearse your lines,
create business to go along with them, and bur n most of that business into
your memory with the line.
For instance, you may move to sit down during a certain line. Over the
next minute, you may be fiddling with a pencil. On your next line, you might start
tapping the pencil on the table for emphasis. All of this business is memorized, and
becomes part of your characterization.
You don’t need to memorize every single motion you perform in a production. But you do want to memorize critical business that adds interest to your character and helps to stabilize the flow of every rehearsal and performance.
Wardrobe and Makeup
A great trick for becoming someone else is to look like someone else!
Your character is not you ... so create a new wardrobe for them. While you’re at it,
don’t forget wigs, moustaches, and special makeup to alter the body of your new
character. You can create a lot of this stuff with art and craft materials and a trip to
a thrift store, or even a friend’s closet.
Makeup has two uses. The most obvious is to radically alter the appearance of your face ... like the scar on a pirate’s cheek. Or perhaps you need to age
your character with lines to indicate wrinkles.
The other use for makeup is to help the audience see your natural features
more clearly from a distance. Delicate applications of lipstick, rouge, and eye shadings help the audience see your face more clearly. You want to apply this type of
makeup just enough to highlight your natural features ... not to overdo them. It will
look a little odd up close in the mirror, but the audience will only see your natural
face from where they are sitting.
Memorizing Your Lines
Memorize your lines, cues, and blocking at the same time. The best
way to memorize your lines is to spend some time every day with your script. Read
each line, look away from the script, and say the line out loud. Notice the cue
words from other actors that come before your lines. Remember the blocking.
Later, look only at the cue line, and speak your lines without looking at the
script. Soon you will be able to run your lines completely from memory with the
cue acting as a trigger, just as it will during the performance.
Have your lines completely memorized several weeks before the performance. This ensures a confident and mistake-free performance.
45
The Art of Acting
Stage Directions
All stage directions are given from the actor’s perspective as they face the
audience.
As you face the audience:











Stage Left: This is to the actor’s left.
Stage Right: This is to the actor’s right.
Upstage:
This is towards the back of the stage, away from the audience.
Downstage: This is towards the front of the stage, closer to the audience.
Wings:
The side areas of the stage that the audience can’t see.
Offstage: Areas of the stage that the audience can’t see.
Onstage:
The area in the audience’s view.
Enter:
The actor enters the stage area from the wings.
Exit:
The actor leaves the stage area into the wings.
Apron:
The front of the stage just past the curtain. (Don’t fall off!)
Beat:
A second of time. Used to pace pauses.
When you block (plot the positions of the actors), use these terms to designate where each actor moves and stands. Here are some samples of blocking:




Move upstage two paces: The actor will move towards the back of the stage.
Enter from stage left and cross to downstage right: The actor comes onto
stage from their left, and walks to the right side, moving towards the audience.
Wait three beats, and then exit stage left: Pause for three seconds, and then
leave the stage on your left side.
Start your lines offstage, and enter from stage right: Start your lines before
the audience can see you, and then enter from the right wings.
Blocking
All the actors’ positions, movement, and cr itical business must be
“blocked”. Their movements must be coordinated with their lines and be the same
every time you rehearse or perform. Set blocking during first rehearsal. Write it
down beside your lines in the script. Blocking and lines are memorized together!
The director needs to make sure that all lines are delivered either sideways
or towards the audience. Never deliver lines with your back to the audience. The
director must also make sure that the actors aren’t standing in front of each other,
blocking the audience’s view of someone.
Keep the characters moving in natural ways. Don’t let the stage stand still.
Characters either move about or have personal business to hold the audience’s eye.
46
Learn to Type ... Now!
You must learn how to type properly on a computer keyboard ... end of
story. The glory of a computer’s speed is only available to a fast typist. “Hunt and
Peck” is wher e you use only two fingers to type. This is tedious and slow. Force
yourself to do this:












Place your left pointer finger on “F” ... Place your right pointer finger on “J”
Lay your left fingers on A S D F ... Keep them touching these keys
Lay your right fingers on J K L ; ... Keep them touching these keys
Hover your thumbs over the Space Bar
For the keys your fingers are touching, just drop the finger to type that letter
For a key on the upper or lower row, type it with the closest finger, and then
return the finger to its r egular position
The left pointer finger controls six letters: F, G, R, T, V, B
The right pointer finger controls six letters: J, H, Y, U, N, M
The middle, ring, and pinky finger s each contr ol three letter s
The pinkies also control the Shift, Tab, Enter, and Backspace
Use either thumb for the Space Bar
To capitalize a letter, hold the “Shift” with the pinky on the opposite hand that
you are typing the letter with. (Right pinky holds “Shift” while left types “A”)
Force yourself to watch the computer screen as you type. When you are
copying from a paper, watch only the paper you are copying. Memorize the position of the keys by typing slowly at first. Glance up and down if necessary, but
learn to type by “feel” rather than sight. Your speed will increase slowly but surely!
Study the typing chart below. Notice which letters each finger controls.
Pointer fingers on “F” and “J” ... the other fingers lay down next to these letters.
The fingers barely move to where they need to go!
47
Crash Course in Typing
The following exercises are designed to give you a taste of proper typing
technique. Move slowly, and review earlier exercises before beginning the next
one.
Type each word five times, hitting the “space bar” with your thumb after
each word. Hit “Enter” with your pinky to skip to a new line for the next word. Try
to stare at the word in this book as you type ... then look up at your computer to see
if you did it correctly.
Prepare to invest several months in mastering proper typing technique.
The results will astonish you. You’ll move from a pathetic five words per minute
via “hunt and peck” to a blazing 50-70 wpm ... a full page of typing in about five
minutes!
*** Keep all unused fingers touching their proper keys!


Left hand on ASDF
sas dad faf sad
saf
das
daf
fas
fad
Left hand on ASDF ... Right hand on JKL;
jaj kak lal saj sak sal daj dak
dal

Left pointer finger moves to hit G
gas gad gaf sag dag

Right pointer finger moves to hit H
has had haf haj hak hal

Left and Right pointer fingers moving to G and H
gah hag

Right pointer finger moves up to hit U
aua sus dud fuf juj kuk lul

Right middle finger moves up to hit I
aia sis did fif jij kik lil

Right ring finger moves up to hit O
aoa sos dod fof joj kok


fak
he
she
lol
Left middle finger moves up to hit E
aea ses ded fef jej kek
lel
Moving up to hit either E, U, I or O
ded juj kik lol dud did
sos
48
faj
led
fog
fal
Crash Course in Typing

Words using the middle row and upper row vowels
said fed dude soak look gale kiss luke deaf fuse
heed like soul sake hill dale gail hole goal seek
heal juke foil fail soil head

Left fingers move down
aza sxs dcd fvf






fbf
Right fingers move down
;/; l.l k,k jmj jnj
bfb
njn
fvf
cdc
mjm
Lower row letters plus vowels
viv bib coc xux zoz
mem
,k,
nin
xsx
.l.
,e,
zaz
/;/
.e.
/e/
Words using lower and middle rows plus vowels from top row
zig sax cod vie bed mom ned faze ox cake
voice bus nice make
Left fingers move up
frf ftf ded sws
Right fingers move up
juj jyj kik lol
aqa
;p;
Upper row plus vowels
que weep ewe rip
qaq
wsw
ede
rfr
vase
tft
p;p
olo
iki
uju
yjy
tore
you
urt
ire
ore
pour
Shift Key: Capital Letters, Question Marks (?) and Quote Marks (“ ”)


Left pinky holds “shift” ... right finger types letter or ?
H J K L ? Y U I O ?
N M
Right pinky holds “shift” ... left finger types letter
A S D F G Q W E R T
Z
?
X
C
V
B

Words with left pinky on shift for capital first letter, and again for question mark
Has? Like? Oil? Jail? Pill? Mike? No?

Words with right pinky on shift for capital first letter
Red Cake Girl Boy Sit Zoo Wish Fast

Quote marks (“) : Left pinky holds “shift” ... right pinky hits the “ key
49
This segment covers Malabon Art Protocol and is based
upon the Fundamental Art Seminar presented to the student
body in November of 2006.
The intent of these pages
is to assist Malabon’s artists in
the drawing of basic shapes and
popular objects. The cube, pyramid, sphere and cylinder shapes
are presented and then transferred into the drawing of other
common objects.
After mastering the techniques found on these pages, try
to apply them to other types of
animals and objects that you enjoy drawing. Notice how the cube concept on page 44 helps to
draw the chair on page 56. After
doing these, try using the cube
design on a table, desk, television
set, door, fish tank ... anything
possessing a square look.
Have fun! These are the
techniques of the pros, and we
encourage you to imitate their
styles and hang some impressive
art upon the walls of our beautiful museum.
Table of Contents
Face
51
Cube
52
Pyramid
53
Sphere
54
Cylinder
54
Animal (side view)
55
Animal (front view)
55
Car
56
House
56
Tree
57
Vase
57
Road and Hill Perspective
58
Room Perspective
59
Cliff
60
Hand
60
Foot
60
Teddy Bear
61
Horse
61
Boy
62
Elephant
62
Hello Kitty
63
Facial Expressions
63
Chair
64
Balloon Faces
64
SpongeBob
65
Patrick
66
Plankton
67
Shelley Yu provided the illustrations used in this segment.
50
Face
1.
Start with an oval
shape.
2.
Divide the face in
half.
3.
Draw guide marks
for the eyes.
4.
Complete eyes with
eyebrows.
5.
Draw nose and
mouth.
6.
Draw ears and neck.
7.
Complete the hair.
Erase all grid lines.
51
Cube
1.
Make four dots.
2.
Connect the dots
with lines.
3.
Draw a line down
from the center dot.
4.
Draw shorter lines
down from the left
and right dots.
5.
Connect the bottoms
of the lines.
6.
Shade based upon
the light source.
7.
Make a shadow.
52
Pyramid
1.
Draw a line at an
angle.
2.
Draw another line
from the top.
4.
Draw a shorter line
from the top.
5.
Connect the bottom
and shade based upon
the light source.
3.
Connect the bottom
with a line.
6.
Make a shadow.
53
Sphere
1.
Make a circle.
2.
Shade based upon
the light source.
3.
Near the light, shade
more lightly.
Cylinder
4.
Cast a shadow.
1.
Draw an oval.
3.
Draw a curved line
at the bottom.
4.
Shade based upon
the light source.
54
2.
Draw two lines
down from the oval.
5.
Cast a shadow.
Animal (side view)
1.
Make a circle and a
bigger oval.
2.
Make ears
and connect the neck.
3.
Add tail and legs.
Erase the inside neck.
Animal (front view)
4.
Add eyes, nose & mouth.
Detail the paws and shade
parts out of the light.
1.
Draw a circle and an
oval.
3.
Add eyes, ears, nose, mouth &
whiskers.
Add back legs.
2.
Connect the neck.
Add ears and legs.
4.
Add tail.
Detail ears and paws.
Erase lines behind feet
and neck.
Shade based on light
source.
55
Car
House
1.
Make this
shape for the
side of the
house.
1.
Make two rectangles.
2.
Make the roof
using a slanted
rectangle.
2.
Add the roof and
wheels.
3.
Add the doors and
detail the wheels.
Erase the rectangular
guidelines.
4.
Add front and back
windshields, lights
and fenders.
Shade the glass and
other parts.
3.
Finish the walls with lines down from
the roof. Add the chimney (which
looks like a cube).
56
4.
Add windows, door and garage.
Shade based upon the light source.
Tree
Vase
57
Road & Hills Perspective
1
2
3
The road and trees become smaller as you move them into the distance.
This is called “perspective”. Perspective gives your picture depth.
58
Room Perspective
Match the angles of the door, window, and rug to the “X” angles.
The back wall is far away, and is smaller then the closer walls.
This perspective makes the room look realistic and deep.
59
Cliff
Hand
Foot
60
Teddy Bear
Horse
61
Boy
Elephant
62
Hello Kitty
Facial Expressions
Sad
Mad
63
Surprised
Chair
Balloon Faces
1
2

3


Notice how the
chair uses the cube structure.
You make a narrow cube for the
seat.
You make a very
narrow cube for
the back.
5
4
64
SpongeBob
65
Patrick
66
Plankton
67
FIT: Fitness Instructional Techniques
FIT: Malabon’s Fitness Instructional Techniques is a guide to
performing simple, at-home exercises that will tone up your muscles and
make your body feel like a million bucks. All exercises can be performed in
one small area in your house with the exception of the pull-ups, which you
can do on the playground equipment at school or on a bar in your yard.
The way you do an exercise is very important. Follow the dir ections to the letter and you will get the most out of each exercise. Proper form
will prevent you from injuring yourself.
Perform each exercise slowly and deliberately. Don’t jer k or
force yourself to make something work. If you cannot do a complete exercise, do it halfway until your muscles build enough strength to do it fully.
Use proper form even in these half-way moments.
A rug or carpet makes the laying down exercises more comfortable.
If you have a hard floor, fold a towel or two on the floor to use as a pad.
Do each exercise with proper form as many times as you are comfortable with. Stop when you find that you are tired or are forcing yourself.
This is your maximum number for that particular exercise.
Write the number down on the chart in the back of this book.
Use the same number every day for a week. During the next week try to add
one to the count. Do the same on the following week. A slow build is all you
want. Building strength takes months. Don’t rush anything. This is not a contest, but rather a process to slowly and surely build your body into a welloiled machine.
You don’t need to exercise every day. Try to set up a weekly schedule that you can stick to. Ever y day is fine if you wish. Ever y other day,
like Monday, Wednesday, and Friday works ... or Monday through Friday
with the weekend off.
Make your routine the same every time you exercise. Follow the
order of the exercises in this book for a consistent flow. You can change the
order if you wish, but write the order down and stick to it. You are more likely to succeed if your weekly routine and exercise order becomes a habit. (If
you are doing your pull-ups at school, simply do them as soon as you hit the
playground at recess before you start playing.)
Jumping jacks war m you up. Push-ups wor k your ar ms, shoulders, and chest. Squats work your legs. Ab crunches tighten your tummy.
Swim arms wor k your shoulder s and back. Swim legs wor k your lower
back. Pull-ups wor k your back, chest, and ar ms. These exer cises will
strengthen your main muscle groups.
Take it slow and easy. Write down your numbers in the back of this
book. Study the pictures and descriptions carefully. Get your routine up and
running. Good luck!
Mr. DeFlaminis and Mrs. Dizney provided the examples in this segment.
68
Jumping Jacks
“1”




“and”
Start with your feet together and hands by your side.
On “1”: J ump and spr ead your feet out while spr eading your ar ms
out and up until your hands stop over your head.
On “and”: J ump again, br inging your legs and ar ms back to their
starting position. This completes one jumping jack.
Get a smooth rhythm going. Count “1 ... and ... 2 ... and ... 3 ... and”
“1”
“and”
69
Push-Ups
Starting
Down

Up



Start with hands on floor about
shoulder width apart. Keep your
back in a perfectly straight
line. Don’t let your bottom sag
down or hump up.
Lower your chest to the floor.
Keep your back straight.
Push back up to the starting position, again keeping the back
straight.
This completes one push-up.
If you have trouble doing a full pushup, just go down a small bit, and then
come back up. As time goes by you
can lower yourself further.
Front View
70
Leg Squats
Start



Stand with your hands on your hips and feet about shoulder width apart.
Drop your arms to your side and bend your knees until your hands touch the
back of your legs just below the knee. Keep your back straight.
Stand back up into starting position with your hands back on your hips.
Don’t lower yourself too deeply! This can damage your knees. Remember ,
the hands touch just under the back of the knee.
Start
71
Abdominal (“Ab”) Crunches
Start
Squeeze
Notice that the head
and shoulders are barely off the floor! The ab
muscles are “crunched”
just fine.
Down



Lay on your back. Point the knees upwards. Place your hands on your hips.
Tightening only your tummy muscles, lift your shoulders and head off the
floor. They will lift a very small bit ... about two or three inches.
Lower your shoulders and head back to the floor. This completes one
crunch.
Don’t throw your head forward. Keep your head str aight with your shoulders as your tummy does the work. This exercise is very effective on the tummy
muscles, though you don’t feel like you are lifting very high.
Start
Squeeze
72
Down
Arm Swims




Start



73
Starting Position
Lay on your tummy.
Bend your knees with
your feet up in the air.
Lift your head, chest,
and arms off of the
floor.
Bend your elbows and
place your hands palm
down on top of each
other in front of your
head.
The Exercise
Keeping your elbows
bent, sweep your arms
back as if swimming
underwater. Keep your
chest and head up off
the floor during this.
Return the arms to the
starting position.
This completes one
Arm Swim.
Leg Swims
Right
Left
Right




Starting Position
Lay on your tummy. Bend the elbows, and lift the head, chest, and arms off
of the floor. The legs will be held together and extended straight.
The Exercise
Lift the right leg, keeping it fairly straight.
Lower it, and at the same time raise the left leg.
Alternate lifting your legs up and down as if swimming. Lift the entire
leg ... not just below the knee. Keep your arms, shoulders, and head off the
floor.
74
Pull-Ups (Reverse Grip)
This reverse-grip pull-up is the easier of the two types of pull-ups, so you might
want to try this one first.



Hang from a bar with your palms facing you. They are about shoulder width
apart. Keep your feet together.
Pull yourself up, using the arms only, until your head is either near or over
the bar. Do not kick your feet or jerk your back to do this!
Slowly lower yourself back to the starting position.
If you can’t do a complete pull-up, don’t worry. You can lift yourself as far as
you can, and then come back down. Do these mini-pull-ups regularly, and soon
you will be able to lift yourself higher and higher.
75
Pull-Ups



Hang from a bar with your palms facing away from you. They are about
shoulder width apart. Keep your feet together.
Pull yourself up, using the arms only, until your head is either near or over
the bar. Do not kick your feet or jerk your back to do this!
Slowly lower yourself back to the starting position.
If you can’t do a complete pull-up, don’t worry. You can lift yourself as far as
you can, and then come back down. Do these mini-pull-ups regularly, and soon
you will be able to lift yourself higher and higher.
The reverse-grip pull-up is easier than this one. Practice whichever one you enjoy doing the most.
76
Progress Record
On this page you can keep a record of your exercise progress. Write
down the number of times you can do each exercise in a row. Hold this number
steady for one week. On the next week, try to add one number to each exercise.
If you can’t, that’s okay. Your muscles will let you know when you can.
The important thing is to do these exercises in the same order every
day. You will become comfortable with the routine, and your muscles will
slowly but surely become stronger. It does not happen overnight ... it’s a lifelong process that will keep your body fit and feeling good. Good luck!
Exercises
Week Week Week Week Week Week Week
1
2
3
4
5
6
7
Jumping Jacks
Push-Ups
Leg Squats
Ab Crunches
Arm Swims
Leg Swims
Pull-Ups
Exercises
Week Week Week Week Week Week Week
8
9
10
11
12
13
14
Jumping Jacks
Push-Ups
Leg Squats
Ab Crunches
Arm Swims
Leg Swims
Pull-Ups
77
RASCAL
Renaissance Achievement in Science, Culture, Arts & Literature
The RASCAL Award is offered to students who complete a cluster of varied achievements in writing, art, and fitness. The assignments are simple and easy
to accomplish. They are designed to be performed across a minimum of one month,
though it is fine if the you take longer to complete them.
The basic format of the assignments are the same for all students, and are
appropriately designed to match up with your grade level.
You may obtain your RASCAL check-sheet from your teacher or the main
office. Here is a general overview of the RASCAL program:











Write a Science Report Accompanied with an Illustration
Write a Cultural/Behavioral Essay
Modify a Behavior Over the Period of One Month
Create a Piece of Visual Art
Write a Fiction Story
Write a News Article
Write a Poem
Write a Script (Play, Movie Scene, etc.)
Write a Review for a Book or Story
Work on a Fitness Skill for One Month
Write a Report on the Progress and Benefit of the Fitness Skill
You may turn in your work to your teacher when it is completed. Indicate
on your work that is intended for RASCAL credit. Once all work is completed
your RASCAL award will be presented at the next school assembly.
You may continue to work for many RASCAL awards throughout your
years at Malabon.
78
S.P.A.M.
E = MC²
Yippee!
(Special Projects at Malabon)
presents the
Malabon Science Fair
(in February or March ...
... don’t worry ... we’ll announce it)
Dr. Einstein
Guidelines For Your Science Project
You may do anything related to science using any of the following methods:
Experiment ... Demonstration ... Exhibit ... Comparison ... Observation
Your project must consist of three parts:
1.
Physical examples
Provide physical examples, demonstrations, or evidence of your work. This
can be displayed in a shoebox, container, mounted on cardboard, etc.
2.
Written report
Provide a one page (or more) written report describing your project, including
your observations and conclusions.
3.
Artistic illustration
Provide artistic illustrations, diagrams, graphs, etc. detailing important points
of your work.
Mount your written report and artwork on a single board
for display and easy transport.
Sample Science Project
Title: Size Variance in the Displacement of W ater
Equipment:
Container of water ... small rock ... big rock
Method:
 Immerse small rock into water ... measure how high water rises
 Immerse large rock into water ... measure how high water rises
Write r epor t on methods and obser vations, concluding with r esults
Draw a diagr am of the pr oject noting the differ ence in water displace-
79
MOP
The
The Malabon Student’s
Manual of Protocol
Eighth Edition
2016-2017
Mr. Green’s Music Room
Website at
http://mulecule.com/
MOP, RASCAL © 2006, 2016
80